UCC2: Course Change Transmittal Form Department Name and Number Current SCNS Course Identication Prex Level Course Number Lab Code Course Title Eective Term and Year Terminate Current Course Other Changes (specify below ) Change Course Identication to: Prex Level Course Number Lab Code Full Course Title Transcript Title (please limit to 21 characters) Credit Hours: From To Contact Hours: Base or Headcount From To yes yes yes yes Rotating Topic: From To S/U Only: From To no no no no yes yes yes yes Variable Credit: From To Repeatable Credit: From To no no no no If yes, minimum and maximum credits/semester If yes, total repeatable credit allowed Prerequisites Co-requisites From From To To Course Description (50 words or less; if requesting a change, please attach a syllabus) From To Rationale /Place in Curriculum/Impact on Program Department Contact Name Phone Email College Contact Name Phone Email Rev. 10/10 ART4848C Reactive Environments Goals • Become aware of the history and foundation of installation. • Develop an ability to analyze and evaluate installation from an informed point-of-view. • Gain an awareness of related work in the field with particular emphasis on works that integrate technology. • Develop the ability to integrate technology in a form that augments the artistic concept. • Integrate concepts of site specificity and locale as important components of an informed practice. Catalog Description Credits: 3; pre-req: senior-level art + technology major, ART3939C or consent of instructor Students explore site specificity and intervention in three-dimensional space through installation using digital media, emphasizing spatial interactivity. ART4848C Reactive Environments instructor information Instructor: Office: Office Hours: Course site: (INSERT HERE - WE RECOMMEND INSTRUCTOR MAINTAIN COURSE SITE) course description This course explores installation and site-specificity using technology as a medium. The course introduces students to technology–enhanced art practices and gives them the opportunity to implement that knowledge into their individual art works. Students will explore a range of strategies available to the site-specific practitioner by borrowing models from a wide range of practices (computer science, biology, electro- acoustics, performance, environmental art, archaeology, architecture, geography, cartography, etc.). Space and site in this course is defined as a physical but also social, political and cultural construct. This course is for the student interested in beginning to use the evolving forms of new media, digital video, the Internet as well as sensors, motes and other peripherals as an expressive and communicative art form in conjunction with other media. The class format is a series of experiments for artists who want to explore and integrate technology into their artwork. The class will divide its time between the hands-on experience of learning the building blocks necessary to creating technologically based art works as well as critically examining “intent” and discussing how these projects fit into contemporary art history. Aesthetic, technical, historical and conceptual issues will be addressed through lectures, demonstrations, exercises, projects, and readings. Students are evaluated based on their contribution to the class discussions, critiques, and technical proficiency with various media. 3 credits: Prerequisite: senior-level art + technology student, ART3939C or permission of instructor objectives Students will demonstrate understanding of the following concepts and techniques both through studio and written assignments: • Become aware of the history and foundation of installation. • Develop an ability to analyze and evaluate installation from an informed point-of-view. • Gain an awareness of related work in the field with particular emphasis on works that integrate technology. • Develop the ability to integrate technology in a form that augments the artistic concept. • Integrate concepts of site specificity and locale as important components of an informed practice. topics (in no particular order and this list is subject to change.) site-specificity, construction of space, movement and time, local, engagement and participation, alternative interfaces, sensor and device control, bio-technology, surveillance, GPS position sensing, psycho- geography, locative art, sound, motion, technology peripherals, chaos, narrative, simulation, mimesis, spectatorship, subjectivity required materials Textbook: Installation Art: A Critical History by Claire Bishop and/or One Place after Another: Site-Specific Art and Locational Identity by Miwon Kwon and course packet. These are subject to change. 1 GB Flash Drive (Mac Compatible) for storage of materials Sketchbook Access to Software: Flash, Final Cut Pro or Premiere, sound editing software, Max/MSP/Jitter This is also subject to change and augmentation depending on current technology. suggested course structure (for 16 week semester – to be determined by instructor) Week 1 introduction—defining “site-specificity” and “installation art.” Weeks 2 and 3—sound Weeks 3 and 4—video Weeks 5 through 8--motion and temporality Weeks 9 and 10— cultural intervention & tactical media Weeks 11 through 13—green technology Weeks 13 and 14—locative media Weeks 15 and 16--final projects and critiques resources readings Space, Site, Intervention: Situating Installation Art by Erika Suderburg Relational Aesthetics by Nicolas Bourriaud The Interventionists: Users' Manual for the Creative Disruption of Everyday Life by Nato Thompson Lure of the Local: Senses of Place in a Multicentered Society by Lucy Lippard Understanding Installation Art: From Duchamp to Holzer by Mark Rosenthal Dialogues in Public Art by Tom Finkelpearl One Place after Another: Site-Specific Art and Locational Identity by Miwon Kwon Installation Art in the New Millennium: The Empire of the Senses by Nicolas De Oliveira Illuminating Video: An Essential Guide to Video Art by Doug Hall (Editor) Blurring the Boundaries: Installation Art 1969-1996 (Paperback)by San Diego Museum of Contemporary Art Christine Paul, "Telepresence, telematics, and telerobotics" and "Body and Identity," Digital Art (London: Thames & Hudson, 2003), pp.154-74. "Telematics Timeline" Telematic Connections CD-ROM Julie Clarke, "The Human/Not Human in the Work of Orlan and Stelarc," in Joanna Zylinksa, ed., The Cyborg Experiments: Extensions of the Body in the Media Age (London: Continuum, 2002), 33-55. Henri Lefebvre, “ Social Space,” in The Production of Space The Visual Cultural Reader Folding Architecture: Spatial, Structural and Organizational Diagrams (Sophia Vyzoviti) The Robot in the Garden, ed. Ken Goldberg. MIT Press 2000 online resources rhizome.org--www.rhizome.org Ars Electronica--http://www.aec.at/en/index.asp Media Art Net--http://www.medienkunstnetz.de/mediaartnet/ Survival Research Laboratory http://www.srl.org/ http://www.waag.org/tmn/main.html [Tactical Media Network] Genomic Art--http://www.genomicart.org/ ArtByte Magazine--http://www.flong.com/telesymphony/press/artbyte/ Leonardo--http://mitpress2.mit.edu/e-journals/Leonardo/home.html#us National Center for Super Computing--http://www.ncsa.uiuc.edu/ The Arts Catalyst--http://www.artscatalyst.org/projects/space/space_index.html Artists in Labs--http://www.artistsinlabs.ch/ mongrel--http://www.mongrelx.org how stuff is made--http://xdesign.ucsd.edu/howstuffismade/ This is the public domain--http://www.thisisthepublicdomain.org/ Site-Specific Blog--http://sitespecific.blogspot.com/ Ideal Flow--http://www.aoe.vt.edu/%7Edevenpor/aoe5104/ifm/ifm.html 2004 Visualization Challenge--http://www.sciencemag.org/cgi/content/full/305/5692/1905 Confluence--http://confluence.org/ The Cactus Project--http://www.thecactusproject.com/about.asp Onetrees--http://onetrees.org/ Message in a Bottle--http://www.fromramsgatetothechathamislands.co.uk/ The Milk Projectt--http://www.milkproject.net Hello World Project--http://www.helloworldproject.com/pages/english/01hello.php?english=Hello Ooz--http://xdesign.ucsd.edu/ooz/sub_index.html Future Farmers--http://www.futurefarmers.com/survey/farmers.php Green Museum—www.greenmuseum.org Plant Anima--http://www.anikoland.com/home.html Co2nvert--http://www.co2nvert.com/ Urban chameleon--http://www.mee.tcd.ie/%7Emoriwaki/chameleon/ Elevated Wetlands--http://www.elevatedwetlands.com/index2.htm People of Interest Ann Hamilton Nina Katchadourian Andy Goldsworthy Petah Coyne Stephan Barron--http://www.technoromanticism.com/en/projects/earth_artworks.html Hans Haacke Sabrina Raaf--http://www.raaf.org/ Laura Stein--http://www.genomicart.org/stein.htm Ilya Kabakov Nam June Paik Tiffany Holmes--http://www.enviroart.org/HolmesColab/docs/ Ana Mendieta Mel Chin--http://www.pbs.org/art21/artists/chin/clip2.html Christo and Jean-Claude Nida Sinokrot Sol Lewitt Mateusz Herczka--http://www.westerplatte.net/main/main_fs.html Bruce Nauman Tara Donovan Wolfgang Laib Sommerer/Mignonneau Theo Jansson--http://www.strandbeest.com Paul Kos Yoyoi Kusama Eduardo Kac website: http://www.ekac.org/ Henrik Håkansson--http://www.muse.co.jp/newlife/artist/henrik_e.html Michael Brown Doug Buis Jim Campbell--http://www.jimcampbell.tv/ Janet Cardiff Shawn Decker--http://www.artic.edu/~sdecker/ Paul DeMarinis-- http://www.well.com/~demarini/ Dan Graham Ilya and Emila Kabakov Matt Heckert--http://www.mattheckert.com/ Perry Hoberman--http://www.perryhoberman.com/ Ned Kahn-- http://nedkahn.com/ Rafael Lozano-Hemmer-- http://www.fundacion.telefonica.com/at/rlh/eprlh.html Len